exhibition (cinema, festival, museum); format; short film; gallery film
Liptay Fabienne (2020), Just Numbers: Challenging Statistical Reasoning in Peter Watkins’s "La Commune (Paris, 1871)", in Widok. Teorie i Praktyki Kultury Wizualnej / iew. Theories and Practices of Visual Culture
, (25), 1-23.
Walde Laura (2020), Der Kurzfilm als (kleines) Format, in zfm (Zeitschrift für Medienwissenschaft)
, 12(22), 67-73.
Liptay Fabienne (2020), Wie Formate politisch gebrauchen? Zu den 16mm-Filmen von Artur Żmijewski, in Nieslony Magdalena, Schweizer Yvonne (ed.), edition metzel, München, 120-135.
Liptay Fabienne (2019), Der menschliche Maßstab: Zur Kartografie des Kinos im amerikanischen Expanded Cinema, in montage AV
, 2(28), 163-179.
Engler Carla Gabriela (2019), Patterns of the Conquerors: Zu den verschiedenen Ausstellungsformaten von John Forbes Watsons textilen Musterbüchern, in Dogramaci Burcu (ed.), Böhlau, Köln, 179-190.
Liptay Fabienne (2019), Practical Epistemology: William Kentridge, in Mersch Dieter, Sasse Sylvia, Zanetti Sandro (ed.), diaphanes, Zürich, 143-162.
Liptay Fabienne (2019), Praktische Epistemologie: William Kentridge, in Zanetti Sandro, Mersch Dieter, Sasse Sylvia (ed.), diaphanes, Zürich, 157-177.
Liptay Fabienne (2019), Was Kino gewesen sein wird: Zur Rekonfiguration des Zuschauens in Max Ophüls’ "Lola Montès", in Urban Anette, Haberer Lilian, Frohne Ursula (ed.), Fink, München, 651-666.
Walde Laura (2018), Tendenzen im Kurzfilm und die Aufgabe von Kurzfilmfestivals, in Filmfest Dresden - Jubiläumsmagazin zum 30. Festivaljahrgang
Liptay Fabienne (2018), Turkey Cinemascope: Nuri Bilge Ceylans Kino der Distanzen, in Dogramaci Burcu, Smolińska Marta (ed.), Kulturverlag Kadmos, Berlin, 35-51.
Liptay Fabienne (2017), Nach dem Experimentieren: das Testen. "Golden Eighties" und "Les années 80", in Film-Konzepte
, (47), 55-61.
Engler Carla Gabriela, "You feel that your image is that of a person with cancer": Skalierung, Haptik und Ruptur in "Doing&Undoing. Poems from Within", in Möller Sarah, Hofmann Tim, Hagedorn Kim Vanessa (ed.), Fink, München.
Liptay Fabienne, Extra Girls: Grenzgängerinnen zwischen Hollywood und Avantgarde, in Mühlbacher Manuel, von Koppenfels Martin (ed.), Fink, München.
Liptay Fabienne, How to Argue with Art: Propositions by Artur Żmijewski, in Zimmermann Michael (ed.), diaphanes, Zürich.
The research project "Exhibiting Film: Challenges of Format" proposes the reconsideration of the theories and practices of film exhibition according to the distribution of moving images across different media and institutions such as the cinema, the festival, television, or the museum. Based on the premise that films persist to exceed the boundaries of their determination and definition, the research project calls for a recognition of the interconnections and dependencies that have shaped the long history of film exhibition within a field of complex and dynamic processes of exchange. While its focus lies mainly on contemporary institutional and artistic practices, the research project will also provide a theoretical perspective from which the history of film exhibition may be reconsidered. The research project is based on the assumption that - in addition to generic and institutional factors - it is format that is especially decisive as a category for programming and distributing films. Whether a film can be seen in a theater, on television, in a museum, or at a festival depends especially on whether its format is compatible with the given prerequisites. Films that, due to their format, are only rarely found in standardized distribution venues and channels as part of the release window system basically depend on alternative platforms and infrastructures in which they can be shown and seen. Formats, however, not only determine the technical requirements under which the media operate. Within a broader cultural understanding, as it will be profiled as part of this research project, the format provides the conditions under which films circulate within a variety of institutional and discursive, social and political contexts. Embracing the concept of format as a key to accessing the field of film exhibition, the project follows three main objectives: (1) to investigate the institutional and artistic practices of film exhibition, as well as their reflection and display in the films themselves; (2) to explore the material and discursive conditions and constraints of the circulation of films in different exhibition environments through notions of format; (3) to conceptualize the epistemological potential and cultural impact of film’s exhibition practices within the larger social and political sphere.